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There Within, Here Without

  • 03/11/23
  • Whit
  • · Blog · Homepage

Pheeeeewh! My third album is official. Tracks can be streamed on Pandora, Prime, iTunes, and Spotify.

I started recording this album way back in June 2020 at the miraculous Deep River Studio in Sanford, NC. I helped design this studio with the great Wes Lachot. It was our first project together. Very fortunate at that time to befriend owner John Davenport who has recorded industry titans such as Bruce Springsteen, John Lennon and Yoko, and the Stones. Earlier that spring, John rang me up and said his good friend Ira Dean was going to be visiting, and that I should come down and record my new material with him. I had recorded my second album at Deep River in 2015. Ira is a fantastic guitarist/bassist session player and performer from Nashville. Over the course of three days, we recorded the rhythm guitar, vocals, and bass tracks for all 12 songs on this album. Ira was simply amazing. Two months later, I was back at Deep River with mentor and former guitar teacher Philip Pennington who performed all the piano, synth, and organ parts on the record. From there it was off to Overdub Lane studio in Durham to track drums on 5 of the songs with the fine Rob Ladd. Five more of the drum tracks were recorded Christmas Eve in Asheville at the awesome Echo Mtn. Studio. Michael Rhodes was at the kit for those ones. Also thanks to John Davenport, he got his friend Rick Marotta to play on the remaining two songs. I suggest you Google Rick and see the incredible list of all-time greats he’s recorded with in his career (here’s a taste: Steely Dan and JT). With the drums finally completed, all that was left to do was cello, sax, mandolin, harmonies, and lead guitar. Five of the songs received cello parts. The arrangements were composed by Philip and performed by Leah Gibson who also played on my second record. We recorded her in the sanctuary at the Christ United Methodist Church in Chapel Hill. That day was a real highlight of the recording process, and I’m truly grateful to Philip and Leah for that memory. Lastly, through a mutual friend, I was fortunate to get Will McFarlane, Bonnie Raitt’s longtime lead guitarist and now Muscle Shoals session player, to do guitar overdubs on 11 of the 12 tracks. He’s a complete master, and his playing really tied everything together.

Speaking of gratitude, I just want to express my thanks to John and Philip for their help on this album. They believed in me. They believed in my music. They championed my cause. Their positive spirits helped carry these songs through to completion. I will always appreciate them for this. Let me also recognize Pablo Vega, Chris Stamey, and John Agnello for their instrumental contributions during the course of recording these tracks.

So why did this take so long? Well, Covid, and then of course, Covid. It seemed like every step that should have taken two weeks took four months. We’d be ready to go record, had the studio and engineers lined up, and then someone would have to quarantine. It was hard to get and sustain any momentum. Also, I learned a ton producing this record myself, but I won’t do it again. I could have used a partner in crime! But I’m very excited to have album number three out in the world. After all, there’s a reason it’s called a “perfect” triangle, there’s a reason we have The Holy Trinity, the three act play, the trilogy, three-headed monsters, tripartite government, three legs to make a functional stool; 3 truly is a magic number.

Oh So Close

  • 03/10/22
  • Whit
  • · Blog · Homepage

Chris Eselgroth of Foureyes Graphics has been helping put together my CD package which is about to go to Discmakers for manufacturing. Chris did my last album “The Hungry & The Hunted.” It’s been great working with him again. I know you all want to see the front cover! I’ll be posting that soon. In the meantime, here’s the back cover. My neighbor Tracy Timmester was kind enough to shoot the photo of me and my truck. After all, you can’t be a self-respecting singer-songwriter and not drive a truck, right?

Some wonder why I would put out a CD at all since everything is streaming these days. Truth be told, when I released my last album five years ago, I had at least three friends say they didn’t own a CD player anymore. And these days, most new cars don’t come with a CD player. When I bought my new Dell computer last summer, the CD drive was an add-on. Despite all this, I’m doing it. There’s just something about handing a physical thing to someone.

Like my last two records, I’ll be including a lyric book with the CD. Sure, many won’t dive into it, and that’s okay, but for me, when I buy CDs (which I still do all the time), I’m beyond disappointed if the artist hasn’t included their lyrics. I love to study them, sit with them, sing them, but most importantly, learn from them. I was that kid with the ridiculously large headphones on, attached to the the record player, lying on a pillow on my bedroom floor reading and rereading the album cover forth and back. That unique pleasure has never gone away for me, and it never will.

CDs may be dying out, but they are still the lifeblood of independent musicians like myself who cart them around and hawk them at their shows. And in a few short weeks, you can pick up a copy of your own!

New Release!

  • 11/07/21
  • Whit
  • · Blog · Homepage

Well, like so many other musicians, I’ve been tucked away during the pandemic. One of the few silver linings is that it helped me drill down and finish my new LP album. It’s called “There Within, Here Without”. Tomorrow I’m getting it mastered at Kitchen Mastering in Carrboro NC with Brent Lambert who mastered my first two albums. It will be released soon after!

The twelve new original tracks are:

Nowhere In Sight
There Within, Here Without
Boy On A Roof
Midwinter Light
Smokeshow
You Can Say What You Want To
All Alone Again With The Ghost Of You
For Once In My Life
Railway Station Line
Sailing In Circles
When Will It Rain
Nothing I Won’t Do For Love

Many thanks to all the wonderful musicians who assisted me on this project and hung in there with me to the finish line. Much more info and tales of from the studio coming soon!

Head For Home

  • 09/17/19
  • Whit
  • · Blog · Homepage

IMG_3485

“Head For Home” is the second track on my second album, “The Hungry & The Hunted.” The riff in the chorus was one that I’d carried around for a long time. I remember living in Rome one summer during architecture school, and my roommate kept hearing me play the riff on this old nylon string acoustic guitar that lived at the apartment we rented. He asked what that song was. I told him it was just something I made up, and he said he liked it and that I should turn it into a song. I finally did, fifteen years later!

The opening line in the song is “we meet on the winter path.” The whole song grew from that line. One cold January afternoon I had taken a hike alongside Morgan Creek on a trail that runs around my neighborhood. I ran into my neighbor who was out walking her dogs. She’s this eclectic lady who had been an actress in L.A. She was always dressed in funky clothes with her long hair dyed dark red. We greeted each other, and I asked her how things were going. She instantly blurted out that her husband had left her for his mother’s hospice nurse. They were getting divorced, and she was moving back to L.A. I knew him pretty well and was stunned by her news and bluntness. I didn’t know what to say other than that I was sorry. We chatted briefly some more and soon said goodbye. I walked on down the trail and that “winter path” line popped into my brain.

I conceived the song with four verses, each one relating to one of the four seasons. The song is about the rise and fall of a love affair which begins with a tryst after a haphazard meeting. Of course, most times this kind of thing blossoms in the spring, but this one starts in the dead of winter along a “winter path” and culminates nine months later in the fall after a literal fall in a deadly drunken car wreck. The poor woman the narrator finds lonely in the woods turns out to be “a master in disguise” with ultimately fatal consequences for both lovers. Sort of morbid, I know, but as Stevie Nicks likes to say, “why write songs about happy things?”

Of the twelve songs on the album, my producer Chris Stamey was always the most excited about this one. He told me that after I demoed it for him while we recorded the base tracks of guitar and scratch vocal, he immediately started composing a string section in his head. It’s his arrangement that is on the album. I love it. Unfortunately, we can’t take the two violinists, and viola and cello players on the road. Karen Strittmatter Galvin (who plays first chair violin for the NC Symphony and played on my first album) has a few other things to attend to!

It’s interesting how this song has evolved as we’ve played it live. It has a little more swing now; maybe it’s more moody with a bit more bite. When I first showed it to the band, our lead guitar player Howard said it had a CSN “Wooden Ships” feel to it, and I think his lead after the second verse nicely evokes that connection. I heard James Taylor once say that he wished the order of recording a song was reversed. He noted that you go into the studio and record a song, and it’s now set in stone. He thought it probably would be better to play the song live for a period of time and then record it. He said you don’t really know the nuances of a song until you’ve performed it a number of times, but you’re stuck with the original version you came up with in the studio. Of course this is how the Grateful Dead did it; tour their songs for years BEFORE laying them down in the studio. I don’t know which way is the best. Recording in the studio does make you commit finally to the song BECAUSE you know it will be set forever. I rewrote the chorus to “Postcard To Okemah” while listening to it being mastered! Everyone thought I was crazy to stop and go back to redo it. But it was that ultimate pressure that made me carry the ball just a little bit further. I’m so glad I did; I would have always been bummed listening to it knowing I should have changed it. However, at some point you do have to commit to the record (and move on with your life). So I appreciate that songs can and will grow live. Nothing wrong with having a few alternative versions out there spinning around the universe.

Release Me

  • 02/15/17
  • Whit
  • · Blog · Homepage

CD box opening

I’m proud to announce that I’ve released my second album on my Copperline Records label.  I started recording demos of these songs with Chris Stamey at his Modern Recording studio in Chapel Hill late in 2015.  He was willing to be my producer again, thank god.  Over the course of two days, I unpacked my twelve songs for him, and we were able to get them all back in the box to where we could live with the song structures and lyrics.  In December 2015, I booked a weekend of recording at John Davenport’s  excellent Deep River Sound Studio and cut the album with my band.  Throughout 2016, Stamey and I recorded overdub vocals on most of the tracks, added other musician’s parts, he performed his voodoo, and we were finally ready to mix last fall.  We mixed it at Overdub Lane in Durham which is owned by my friend and mentor Wes Lachot with whom I’ve been designing professional recording studios for the past four-and-a-half years.  John Plymale did and amazing job mixing for me, and it was great to be in the room when the final versions of these songs came out of the sausage grinder.  I again used Brett Lambert at Kitchen Mastering for the final master and suddenly everything was polished and complete.  As Springsteen sings “it’s been a long time coming, my friend.” Yes it has been, but here we are.

These songs, with the exception of “Release Me”, were all written since I put out my first record “Been Here Before”.  I did have most of “Release Me” done by then, but it wasn’t ready to go, so I set it aside.  I had carried around the songs for “Been Here Before” for decades before I actually put them on down an album.  Part of the impetus of my wanting to record them was because I had been stuck in my writing for a long time, and I felt that until those were “finished”, i.e. set in stone on an album, I wasn’t going to be able to move on to anything new.  And that was actually what happened from there.  Within weeks of “Been Here Before” being released, I had two new songs : “Smoke Signals” and “Can’t Get a Witness”. The rest came slowly, until I had ten new songs.  “Winter Soldier” and “Ordinary Rival” were laying in pieces on my desk when I first started discussing this new album with Stamey, so I pushed myself to complete them in the weeks before I recorded the demos.  I wrote all the words and music for this album except for “Through That Door” which I wrote with long-time compadre and writing partner Carl Mabry.  We’ve had our band COFFEE since 2007, and write often together.  “Through That Door” has the opening line “afternoon sunlight hits upon my face” which was what was actually happening to Carl and I as the sun poured in the west-facing windows of my studio the moment I came up with the song’s opening riff and said to Carl, “this is something”.  We decided on the concept for the song and wrote half the first verse and the chorus that afternoon.  The song took flight from there and was finished within four days.

Here’s the executive summary of what’s going on in these twelve tracks. “Walking Man” is about a malignant narcissist. If you are wondering what that is, just imagine our 45th president.  “Head for Home” traces the arc of a love affair that ascends from the ashes, reaches its zenith, then crashes and burns back into dust.  “Ordinary Rival” is about a man doing battle with alcoholism.  “Can’t Get a Witness” is about the lonely life of one who runs from love.  “Helen” is about unrequited love—got to have a song about that in there.  “Smoke Signal” is another love lost song.  “Postcard to Okemah” traces the ride of a lost sailor.  I got the idea for this song from watching Matthew McConaughey in the movie “Mud”.  Good film.  By the way, Okemah is a great little town in Oklahoma where the legendary Woody Guthrie was born.  “Release Me” tells the tale of a wolf in sheep’s clothing who has the table turned on him. “Right After Today” is about being so stuck in your past that you miss your future.  “Winter Soldier” is an ode to my friend’s brother-in-law, an Iraq war veteran with PTSD, who took his own life two years ago.  “Through That Door” is about giving up on the very people who are working hard not to give up on you.  And lastly, “Take Me with You When You Go” is narrated by perhaps  the only noble character on the record.  He’s in love with an evangelical preacher’s daughter. He’s going to follow here wherever she leads him–heaven or hell–wherever she is, that’s where he wants to be.

Hope you enjoy this record.

 

New Album Cover and Title

  • 12/21/16
  • Whit
  • · Blog · Homepage

WhitG_6PAN1TRTP_ntve_091516My wife was Googling works by Asheville painters, and came across this painting of an owl by Mark Bettis (http://www.markbettisart.com) .  She handed me her iPad to look at the painting.  The first thing I said was “this looks like an album cover”, and I gave her back her iPad.  Several nights later I was out on our back deck looking straight up at the full moon through winter trees.  I heard an owl up in the pasture and imitated his call.  The owl responded so I did it again.  He replied more loudly, now nearer by.  I called once more and I heard him again.  Somehow, silently, he was directly overhead.  I turned off the outside lights.  I looked up and tried to make him out.  Then, magically, I watched him unfurl his wings and take flight.  He was a perfect shadow against the cotton cloud, back-lit by the super moon.  He was a giant.  Suddenly, a second owl, even larger than the first, ascended and darkened the sky.  Their wings had made no sound; such stealthy hunters.  I realized right then I had both the album cover and title of my second album.

I contacted Mark immediately and asked if he’d be willing to let me use his painting as my cover.  Graciously, he accepted the idea, and a couple weeks later I found myself up in Asheville at his awesome studio at the Wedge building looking at the actual painting.  It’s titled “In Site”.  The “x” over the owl’s eye is meant to imply the moment when the owl has locked in on his prey and is about to swoop down on the helpless victim.   Mark had painted it as part of a series he titled “Spirit Animals” which included another owl, a wolf, a bear, a fox, and ravens.  This animal painting was the only one left from the series only because he’d taken it home.  He said he rarely hung his own art at his house, but this piece was special to him.  We made our deal over the use of the painting as the cover.  I kept looking at it, looking at it, looking at, and I couldn’t leave it behind!  So here it proudly hangs in my living room.  Thank you Mark!

Owl on the wallI’ve named the album “The Hungry & The Hunted”.  This comes from a loaded Springsteen lyric on his epic song “Jungleland” off his legendary “Born To Run” album.  It just fit with the painting so well and it’s also a good way of summarizing the various narrators in the songs on the album.  It basically all comes down to two groups: there are the ever-hungry hunters and the terrified “huntees”.   Suffice it to say there aren’t many noble characters coming out of the songs on this record.  Perhaps one: the patient boyfriend in “Take Me With You When You Go”.  Other than him, though, it’s mostly a “basket of deplorables” who fit into one side or the other of the food chain equation.   I’ll let you listen and be the judge of who fits where.  I also want to give a shout out here to graphic designer Chris Eselgroth for realizing my cover vision and making it work. Just what I had in mind.

 

In The Studio at Deep River Sound

  • 12/12/16
  • Whit
  • · Blog · Homepage

Deep River_1Neil Young says that the only way to make a record is to get the band in a room and record it live with no overdubs.  I said this to my producer Chris Stamey once and he quickly replied that Young has an advantage in that all the guys in the room are world-class musicians.  How true.  My first record, “Been Here Before” was recorded at Chris’ studio, Modern Recording, in May of 2011.  It’s a collection of my songs that I’d been toting around for many years. My earliest song “Icarus” was written in high school and performed at our school talent show.  The song “The Other Side of Rainbows” was written on the bed in my dorm room freshman year at college. I didn’t know what to expect after I first laid down the rhythm guitar and vocals for that album.  I’d never heard them backed by a full band, but thanks to a host of excellent local Triangle musicians and the miracle that is Pro Tools recording software, their instruments and voices were added to my base tracks to flesh out the album which was finished that December.  I was beyond thrilled with the result.

Flash forward to 2015.  Young’s words beckoned. I couldn’t give up on the notion that tracking the album live with a full band was the approach I should take for my second one.  There was a small problem: I didn’t have a band…  Though for months I had been jamming with two buddies most Tuesday nights at my house in a log cabin on my property that had been converted to a pottery studio by the previous owner and dubbed “The Roost”.  Frank plays bass and Howard plays lead guitar.  It became clear that these were my guys.  We didn’t have a drummer, but the mighty Tony Stiglitz, an old friend who played exquisitely on my first album, agreed to help me again.  After a few rehearsals with drums, we went for it.  The album was produced by Chris Stamey and we recorded it over a weekend last December at Deep River Sound Studio in Sanford NC.  The recording studio was built in 2014 for John Davenport.  John is fabulous and has been in the music industry for years including a long stint at the Hit Factory in NYC working with the likes of Bruce Springsteen, the Stones, and John Lennon.  Read all about him and his Wrightian studio in his Mix Magazine cover story profile http://www.mixonline.com/news/facilities/deep-river-sound-studios/426218.  My day job is as a licensed architect, and for John’s studio, I was the project architect.  The studio was conceived nearly 20  years ago by my boss and colleague Wes Lachot and it was finally brought to life opening earlier last year. I’ve been working for the Wes Lachot Design Group since 2012 and our studios have been built across the globe including current projects in Dubai, Iceland, New Zealand, Mongolia, as well all over the US.  Having drawn every single brick on the triangular building that became Deep River, I very much wanted to record an album there.

This amazing studio made all the difference.  Having helped design dozens of recording studios for our happy clients, I drink the Kool-Aid every day at work.  I’m sold on the implicit fact that analog recording is greater than digital recording.  It’s a simple matter of the physics of electrons.  Microscopic digital converters can’t replace the “real” movement of electricity through an analog mixing console. You can feel the depth of an analog bass sound wave.  The sound is fuller with far more headroom.  It’s the reason why temperamental vinyl records now outsell digital downloads.  I can feel all you “in the box” engineers scrolling down for the comments section right now, so I’ll leave this topic here.  Suffice it to say, I simply had to record at Deep River.

Whit Booth_1

That weekend spent recording the tracks was just beautiful.  The studio is perched above the banks of the Deep River on a 500 acre farm replete with horses, donkeys, and lamas!  We had a great time.  We set up all the equipment Friday afternoon and returned Saturday morning to begin.  With Chris Stamey at the helm of John’s awesome API Legacy Plus console and “my band” in place, we were ready to roll.  By late Sunday night, we had finished tracking all twelve songs that would eventually became my new album “The Hungry & The Hunted”.  Much of the credit for this goes to the work Frank, Howard, and I had previously done in the Roost and of course to my producer Chris.  He and I had spent hours ironing out the rough edges of the songs during pre-production at his studio including committing to each songs beats per minute which really streamlined the process.  He is a great producer and an amazing musician in his own right. His experience and ear were instrumental in getting the album cut so quickly. He’d jump up from the control room and rush into the tracking room after a take and say “try this” or “do that after this part” and then we’d go ahead and do it.  He knew exactly what we needed to get from each take and most importantly, he knew when each track was complete so we could move on.  He was like a brilliant head basketball coach getting us to execute on each possession.  We had a blast.

Well, there was a lot of overdubbing to come in the next few months.  Sorry Mr. Young!  We gave it our best shot.  He is right though.  Listening to the finished album, I can feel the vibe of playing with those guys. I can close my eyes and see them at their instruments.  I feel our energy percolating beneath the words and the beat.  That’s really all I wanted; to play in the band.  All our moments were captured.

Legend(ary)

  • 02/17/15
  • Whit
  • · Blog · Homepage

mcg_photography-0065 It’s a curious moment, sharing the stage with a living legend—a member of the Rock ‘n Roll Hall of Fame.  So it was through pure luck and happenstance that I got to perform a couple songs with Donovan a few months back. Donovan had come to Charleston SC to join his old friend Chris Murray on the dais at the Gibbes Museum of Art.  Chris had curated an exhibit of large format portraits of iconic rock star that was opening there. One of the shots was of Donovan in full late psychedelic 60’s regalia brandishing a cane.  For years Chris owned a gallery in Georgetown that specialized in rock ‘n roll photography, so he was the perfect person to put the exhibit together.  For the opening, Chris gave a lecture detailing the images and would ask Donovan to share anecdotes about his colleagues and what it was like being part of the British Invasion.  Donovan was funny and light.  At the end of the talk, Donovan pulled out is tri-colored acoustic guitar and performed four tunes including his major hits “Sunshine Superman” and “Mellow Yellow.”  Needless to say, he brought the house down.

I had known Donovan was a big deal. Coincidentally, I’d just recently watched D.A. Pennbaker’s “cinema verite” documentary “Don’t Look Back” that captured Dylan’s 1963 tour of Britain.  Donovan had just broken on the scene and his name was all over the newspapers.  Dylan refers to Donovan several times in the film, and you quickly get the sense that Dylan feels a bit competitive with Donovan. When his friend jokes Dylan that Donovan is a better guitar player than him Dylan quips “right away I hate him.” Later on the tour the two actually meet and there’s a scene that captures Donovan singing and playing guitar to a roomful of people in Dylan’s hotel room and Dylan genuinely tells him he likes the song.  But despite all the footage of Dylan’s adoring fans, the crowds bum-rushing his getaway car after shows, and all the media and press headlines, Dylan’s recurring commentary about Donovan reveals he regards him as a rival. I think this is what makes all the greats like Dylan rise above their peers; they always carry a bit of a chip on their shoulder that they are better.

So I had all this in mind while my band COFFEE was performing during the reception that followed the exhibit opening.  During the second set, Donovan came into the room and listened to a couple of our tunes.  My heart was racing as he watched us.  He came up to the stage and started thumping a pair of congas that sat unattended.  We happened to have an extra guitar (hmmn, how did that get there?) and he asked if it was plugged in. I immediately handed him my carbon RainSong guitar and scrambled to get the Stratocaster in tune and amplified and we quickly jumped into the Stones “You Can’t Always Get What You Want” and then went to Dylan’s “All Along The Watchtower.”  My bandmate Carl Mabry and I joined Donovan in singing the choruses.  The assembled crowd gave us a thunderous applause.  When I broke into and summarily fumbled the opening chords to the Beatles “Norwegian Wood” Donovan told me he didn’t know that one—you couldn’t tell what song I was trying to play!  He quickly unstrapped my guitar he was playing, handed it back to me, then wandered off to rejoin the party.  Needless to say, I haven’t faltered on “Norwegian Wood” ever since. Lesson learned!

My brush with greatness hadn’t lasted very long, but it was a true honor that I won’t soon forget.  It will be hard topping that experience.mcg_photography-0068

New York, New York

  • 07/11/12
  • Whit
  • · Blog

I remember back during the fall of my junior year in high school in 1985, a group of my friends and me were in New York City for the weekend.  Kathy A. led us all down to Greenwich Village one night.  She had grown up in The City and thus knew the hip joints (aka where we could get in and drink).  We ended up at the Red Lion Inn on Bleecker St. and there was some dude up on stage all alone strumming an acoustic guitar.  He had just finished a righteous version of the Dead’s “Eyes of the World”, and I remember thinking that that’s what I wanted to do someday.  I had been playing a lot of guitar that year, getting better, and always dreamt of being good enough to perform in front of people. Yikes.  Well, low and behold that day finally arrived. Okay, my NYC debut was not actually in Dylan’s old stomping grounds, but surely close enough to count: the Hideaway Bar in Tribeca. Big thank-yous to Justin Palmer and the Meyer brothers for allowing me to achieve a life goal!  My summer tour of New England “hotspots” culminated in a fantastic gig.  NYC was a steambath, but thankfully the AC was working because the Hideaway was jammed full. Many friends were on hand to witness it (and also celebrate afterwards). I was so excited I played a non-stop, three hour and fifteen minute set. I’d finally made my mark in NYC and Old Blue Eyes’ words played in my head. One very special moment came when I was asked to play “The Other Side of Rainbows” by Paul Simons, a close friend of Kevin Gorter’s, who had driven all the way back into the city from the ‘burbs upon learning I was going to be playing that night.  It was my first performance of that song live in public.  And yes, I closed the show with my own righteous version of “Eyes” thus completing a circle 27 years in the making.

CDs arrival

  • 03/14/12
  • Whit
  • · Blog

Yesterday felt so much like Christmas morning.  Waiting all day for the packages to arrive was maddening.  While in town, I saw three different UPS trucks and wanted to flag them down and ask if they had my disks.  Opening this box was an incredible moment for me.  For 20 years I’ve been wanting to record my songs and here they are.  What a ride; from those first recording sessions with Chris Stamey at Modern back in May, all those nights working late into the evening with the other musicians, the endless wringing of hands over the artwork, to finally removing the shrink wrap on the shiny digipak.  Amazing.  Hard to believe I made it to the top of the mountain.  To all of you who made this possible, I thank you.

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  • Latest PostsBlog

    • 03/11/23
      There Within, Here Without

      Pheeeeewh! My third album is official. Tracks can be streame…

    • 03/10/22
      Oh So Close

      Chris Eselgroth of Foureyes Graphics has been helping put to…

    • 11/07/21
      New Release!

      Well, like so many other musicians, I’ve been tucked a…

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